


Shot Through the Heart

by GracieAnneJackson



Series: Sister Christian [5]
Category: Supernatural
Genre: Cherubim, Disapproving Family, Dubcon Cuddling, Dubcon Kissing, F/M, Falling In Love, Father-Son Relationship, Friendship/Love, Greek Mythology - Freeform, Jealous Dean Winchester, Love, No Smut, Old Gods, Pagan Gods, Plot, Protective Castiel, Salute to Supernatural Nashville Convention, Screenplay/Script Format, The Colt (Supernatural), Torture
Language: English
Status: Completed
Published: 2018-11-17
Updated: 2018-11-17
Packaged: 2019-08-25 01:53:45
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 7,940
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/16652059
Author URL: https://archiveofourown.org/users/GracieAnneJackson/pseuds/GracieAnneJackson
Summary: Dean, Sam and Joan respond to a case in Nashville, TN, where newlyweds are disappearing without a trace - leaving a pile of clothes behind. Joan and Dean grow closer, but Dean gets mixed signals. Meanwhile, Jack and Jesse are sneaking around, until Castiel finds out.TW: Dubcon kissing, use of the word B**ch. TV-14 level.





	Shot Through the Heart

**Author's Note:**

> This is Episode 5 of the Sister Christian story arc. This arc takes place some time in Season 14. Online format makes normal screenplay conventions impossible; forgive mistakes in proper text placement.
> 
> The story was outlined before the Season 14 premier. All similarities to the actual plot of the show are coincidental.

**FADE IN:**

**THE IMPALA - MORNING**

DEAN is driving the Impala with SAM in the passenger seat. They are dressed for a hunt. SAM is talking on his cell phone.

SAM

Yeah, Mom, we’re already on our way. We’re just going to pick Joan up at the church and we’re on the road. Okay. Yeah, we’ll see you soon. (Hangs up)

DEAN

Everything ok?

SAM

Yeah, they’re good, just need some more manpower. Lots of graves to dig up, apparently.

DEAN

Oh, fantastic. My favorite.

 

**COUNTRY CHURCHYARD - MORNING**

The IMPALA pulls up in the driveway. JOAN, on her knees spreading mulch in the front of the church, looks up and immediately knows something is up. She stands.

DEAN and SAM get out of the car and walk toward her.

DEAN

Pack it up, Joan, we got work to do.

JOAN takes off her gloves.

JOAN

Everybody ok?

SAM

Yeah, it’s ok. Mom and Ketch called for backup, we figured you’d want in.

JOAN

Thanks. I’ll wash up and be out in a second.

DEAN

Ok, sounds good.

JOAN goes inside the church. DEAN and SAM are looking around and SAM sees somebody disappear around the corner. He taps DEAN and pursues the figure. DEAN follows.

Around the corner, no one is visible. DEAN begins to ask SAM something, but SAM only shakes his head and continues looking. They walk into the graveyard and see the top of someone’s head hiding behind a statue.

DEAN

Hey, over there. Nice day, isn’t it?

CHUCK peers out from behind the statue, and tries to pretend as if he wasn’t hiding. He is dressed as a priest.

CHUCK

H-Hey, guys.

SAM and DEAN are aghast.

SAM

Chuck!?

DEAN

You’ve got to be kidding me. I thought you and Amara had literally fallen off the face of the Earth. Indefinitely.

SAM

(Looking around) Is, is Amara...?

CHUCK

She’s cool. She’s fine. She’s just taking a walk around the Milky Way to clear her mind. She’ll be back in a few centuries. Thought I’d find a place to keep an eye on things. Just not too close an eye.

SAM

So, you’re in Lebanon, Kansas.

CHUCK

Sure. Geographic center and all that. I just didn’t expect Dean’s girlfriend to show up and get a job here.

DEAN

I don’t have a girlfriend.

CHUCK

Yeah, sure. Whatever.

SAM

Does Joan...know who you are?

CHUCK

No, she does not, and don’t you dare tell her.

DEAN

What? Why would you keep that from her? I mean, she’s kind of a big fan of yours.

CHUCK

A fan?? Do you remember Becky?

SAM shudders at the memory.

SAM

Joan is nowhere near that crazy.

CHUCK

Joan spent fifteen years doing everything she could to marry me. What if she resents me that it didn’t work out? Or if I’m just not what she... expected? Her faith right now, it’s... it’s everything she needs. I don’t want to throw her for a loop.

DEAN stammers.

DEAN

She... marry you? Like, as a nun, she’d... Joan would have been...

CHUCK

Get your mind out of the gutter. It’s nothing like that. You wouldn’t understand.

Now DEAN is irate, and more than a little jealous. But he reins it in. He begins to say something, but thinks better of it and walks away, muttering to himself incomprehensibly.

SAM

(To CHUCK) Uh, we’ll uh, catch you later.

SAM follows DEAN. CHUCK seems to regret his word choice. He waves goodbye to SAM awkwardly.

DEAN is standing by the car, rubbing his face in consternation when SAM comes around the corner. SAM says nothing, but seems to be searching for words. DEAN looks like he is about to say something angrily to SAM when JOAN comes out of the door.

JOAN

All right, let’s roll. I put the bike in the shed, I can leave it there for a while.

JOAN studies DEAN’s face.

JOAN

What’s wrong?

DEAN

Nothing’s wrong. I’ve got your swords in the trunk. Let’s go.

**A COFFEE SHOP IN LEBANON, KS - MORNING**

JACK enters the coffee shop carrying a laptop bag. He looks nervous and casts his gaze around, as if looking for someone.

JACK orders something and sits at a table alone. He ducks his head down to look through the bag, and when he straightens up, JESSE has appeared across from him. JACK is startled.

JESSE

Oh, sorry, I didn’t mean to-

JACK

Oh, it’s okay.

JESSE produces an old book, flips to a bookmarked page, and hands it to JACK. A spell is written on the page, in strange letters.

JESSE

So, this is the one I mentioned before, that you asked me about on the phone. Seems pretty straightforward. It’s a restorative spell, kind of a healing spell, but for people like us. It’s a bit more complicated than a normal healing spell, though. I think we’ll need some help.

JACK

I can’t read it – what are the ingredients?

JESSE

Oh. Let’s see... some basic stuff I have at my place. A few words from the Angel tablet – Joan has a copy in her little book, I think? Some angel grace – I know you’re fresh out, but maybe Castiel would loan you some... and some sanctified iron. Just some scrap pieces would do. Obviously, I don’t have any of these things. Oh, and of course, someone to cast the spell without making a mess of it, like I probably would. I guess I was hoping Rowena would want me to owe her one. No dice. She seems to like you, though, so I was hoping maybe you would ask?

JACK scratches the back of his head and looks around nervously.

JACK

Well, I don’t think my family would actually approve of going this route. I’d rather not get them involved, if we can.

JESSE

I mean, look, they’re your family. I’m sure they want to help you.

JACK

They do. It’s just, I’d rather them not know I’m...

JESSE

(Nodding, disappointed.) That you’re talking to me at all.

JACK

I’m sorry, Jesse, it’s just that...

JESSE

No, no. It’s fine. Really, though, I think you should just be open with them about what you’re doing. But it’s none of my business at all. (Beat) I’m going to get a coffee.

JESSE rises, leaving a thoughtful JACK behind.

 

**A HOTEL IN NASHVILLE, TN - DAY**

It’s a nicer hotel than the Winchesters are used to, but not quite luxury. The country music theme suits the location. A kitchenette and two beds are in the first space. An open door connects to a second bedroom, which contains two more beds and a couch. KETCH sits at the table cleaning his handgun.

MARY opens the door, beginning the scene. SAM, DEAN, and JOAN are standing in the hallway, revealing that this is not a walk-up motel room.

MARY

Hey, guys! Come on in.

MARY embraces her sons in turn.

DEAN

Hey, mom. You doing ok?

MARY

Yeah, we’re okay. Just a little...at a loss.

KETCH rises to join the others as he gives the next line.

KETCH

Joan. How good to see you again.

JOAN

Good to see you too, Arthur.

JOAN smiles and nods when Ketch deferentially dips his head toward her. Dean’s jaw clenches.

SAM

What have we got?

KETCH

We initially suspected some kind of monster attack, but we are now suspecting a less random predator. All the victims are newlyweds. Apparently, this is a relatively common honeymoon spot. Three couples in as many weeks.

DEAN

Restless spirit?

MARY

No EMF, but we arrived a day after the third disappearance, so it could be timing-specific.

KETCH

All the disappearances have been from Centennial Park. All between 10pm and midnight. We combed the place, no vampires hidden in the shadows or anything like that. But it is a large park.

SAM produces a tablet.

SAM

I was looking up some info about the park on the way here, and I found this.

We see an old newspaper article about a woman who committed suicide in the park.

SAM

A Jane Doe committed suicide in the park in the 90s.

MARY

I don’t suppose this was right after getting left at the altar?

SAM

It doesn’t say why; they didn’t know who she was.

DEAN

Whelp, we’ll hedge our bets. Where is she buried?

SAM

Well, that’s the problem. Looks like no one claimed her body. She’s in a potter’s field.

Everybody groans.

JOAN

What’s wrong?

KETCH

Potter’s fields – public cemeteries for the unclaimed and unknown - are notorious thorns in hunter’s sides.

DEAN

The only way to find out where she’s buried is to go ask at the county office. As the FBI or something.

MARY

And then, two days later, the grave is disturbed...

JOAN

I get it. So the graves are unmarked?

SAM

Not totally unmarked. But we’ll have to dig up every Jane Doe in the entire 1997 section of the cemetery.

MARY

Well, at least it’s nice out.

 

**PUBLIC CEMETERY - NIGHT**

It is a stark cemetery with no decorations. Two graves have already been excavated; fires are burning in them. The team has split up and are digging two more; SAM and KETCH on one and DEAN, MARY and JOAN on another. It begins to rain. The brothers look at each other, commiserating. Everyone starts to dig faster. They light the last two fires and, after ensuring the bones truly burn, start to fill the first two graves back up.

 

**THE HOTEL ROOM - NIGHT**

The team trudges back into the room, covered in mud. Everyone takes off their shoes.

MARY

Well, we’ve got two showers.

SAM

Ladies first.

DEAN

I’ll order some pizzas.

Time passes. SAM emerges from the bathroom, arranging his wet hair. KETCH is asleep on one of the beds in the “guys” room. MARY is on her phone, laying on a bed in the “gals” room. MARY catches SAM’s attention with a gesture. He follows her gesture to see DEAN and JOAN, passed out on the couch adorably. SAM smiles and waves goodnight to his mom. He goes to the other bed in the guys’ room. MARY turns out the light.

 

**SHODDY ATTIC - DAY**

The scene opens in pitch darkness. We hear a storm howling and water rushing. A young girl (about 13) is screaming for her mother in terror.

YOUNG JOAN

Mom!! MOM?!!??

The girl coughs. The water sounds like it is rushing closer. Now we hear splashing. Full panic now sets into the girl’s voice.

YOUNG JOAN

MOM!?!?

The girl is coughing and sobbing in fear. We hear heavy banging, then wood splintering and we see light crack in for the first time. A hole was punched in the ceiling of the attic. A hurricane rages outside. A little girl is standing on some boxes to reach the ceiling, holding an axe.

YOUNG JOAN

GOD! Help me! If you’re real, God, help me now!

The rising water floats the girl out of the house through the hole in the roof. She is almost washed away, but grabs onto a satellite dish on the roof. She hangs on for dear life, screaming.

A voice breaks through the storm.

DEAN

Joan. Joan!

 

**THE HOTEL ROOM - VERY EARLY MORNING**

JOAN’s eyes snap open and she takes a sharp breath. She’s on the couch, leaning on DEAN. She sits up, and her arms pop up defensively, but DEAN catches her.

DEAN

It’s me. You were having a nightmare.

JOAN is having a hard time calming down. She’s breathing fast.

JOAN

I need some air.

DEAN rises and helps her up.

DEAN

Come on.

**HOTEL BALCONY - VERY EARLY MORNING**

DEAN and JOAN exit onto a large hotel balcony, wearing t-shirts and sweatpants. The sun is barely rising. JOAN looks out on the view and her breathing slows. They are silent for a moment.

DEAN

What are your nightmares about?

JOAN hesitates.

DEAN

Oh, come on. Fair is fair.

JOAN

(Wry chuckle) I guess it is. Just now, I dreamed I was drowning.

DEAN nods, still looking at her, waiting. He does not press.

JOAN

The levee broke, and my house... well. I climbed into the attic. Still don’t know how I busted out the roof, I was just a kid. Thing was probably fixing to cave in anyway.

DEAN

Katrina, right?

JOAN

Yeah.

DEAN

(Gently) Your mom?

JOAN shakes her head and chuckles wryly.

JOAN

High as a kite. Too stoned on her magic potions to evacuate. Too stoned to escape with me. I found her, when the water went down. By myself. Couldn’t hardly recognize her, she was so bloated up. She was –

JOAN’s voice breaks and she stops, shaking her head.

DEAN

I’m so sorry.

JOAN

Don’t be. She was a pretty bad mother. My life got a lot better after she died, honestly.

DEAN

Still. A kid shouldn’t see that.

JOAN

I don’t think you and I ever were kids.

DEAN

We turned out all right.

JOAN

(Laughing) Relatively speaking.

DEAN places his hand on her back and they watch the sunrise.

 

**THE HOTEL ROOM - MORNING**

JOAN and DEAN re-enter the room to find everyone up and in the process of getting dressed. When they enter, MARY looks up and seems somewhat relieved.

MARY

(To SAM) They’re back.

SAM comes in from the other room to see DEAN. He’s not upset, just glad to see him.

SAM

You forgot your phone.

DEAN

Didn’t leave the building.

KETCH enters the room and turns on the TV.

KETCH

Bad news on the 6 o’clock, I’m afraid.

We see a banner on the TV that says a young couple is missing. A reporter is speaking, standing in the park.

REPORTER

After not showing up as expected for their own rehearsal dinner, the two were reported missing by their families. Their wedding was scheduled for today. Police are currently unsure whether foul play is suspected.

We see a charming photo of the young couple.

REPORTER

Any information about the whereabouts of these two people-

KETCH mutes the TV.

DEAN

So it wasn’t the ghost of Jane Doe.

KETCH

Apparently not. Mary and I are already representatives of the National Parks Service, so some FBI agents should probably go get the details from the police.

MARY

We’ll go see if anything new turned up at the crime scene.

JOAN

Sounds good. Ready in ten.

**A PUBLIC PARK IN LEBANON, KS - MORNING**

JACK sits, reading, on a park bench. JESSE walks up and sits next to him. They are dressed in summertime clothes.

JESSE

I really don’t know what’s up with the cloak and dagger, dude.

JACK

It’s not – I just don’t want to –

JESSE

Yeah, yeah, yeah, your family. Sure.

JACK

I’m sorry.

JESSE

I told you, I get it. I just don’t think it’s a good idea. Did you borrow the things we need?

JACK

(Brightly) Well, I think I found some sanctified iron no one is using. It was a gun, an important one, but it’s broken. Sam said there was no fixing it. So it should be fine to use.

JACK produces from his bag the broken shards of the Colt. JESSE smiles and accepts them, examining them and placing them in his pocket.

JESSE

Actually, these look perfect. Nice find. Any luck on the other stuff?

JACK

Joan’s out on a case with Sam and Dean, I think she has her book with her.

JESSE

And the angel grace?

JACK

I... I don’t think I can do that one.

JESSE

Have you even asked?

JACK

You don’t understand. Castiel-

JACK turns to JESSE, but behind him he sees CASTIEL approaching, looking intense.

JACK

Oh man. Jesse, maybe you should –

JESSE

What? (He turns and sees CASTIEL) Oh no. Are you going to be ok?

CASTIEL is now within earshot of them.

CASTIEL

Jesse. Jack. Is this where you’ve been, when you disappear?

JACK

Cas, that’s not how it-

CASTIEL

And you’ve lied about it! What’s gotten into you?

JACK

Cas, I’m a grown man, I can –

CASTIEL

No, Jack. You are not. I need you to understand. You look like an adult, you may feel like an adult, but you lack the experience to be considered a grown man. You are a toddler in a grown man’s body, and people can and will exploit that.

JESSE

Castiel. Do you really think that’s –

CASTIEL

You need to leave. And leave this boy alone. Forever.

JESSE stands up, hands raised in conflict-avoidance.

JESSE

I didn’t mean to intrude.

JESSE disappears. JACK looks up with tears in his eyes and wrath in his voice.

JACK

You have no right.

CASTIEL

We’re family. I care about you.

JACK

You are NOT my father.

CASTIEL is taken aback, clearly hurt. He pauses to process this, then begins to say something but stops. He turns away from JACK.

CASTIEL

Do you want a ride home?

JACK

No. I’ll walk.

CASTIEL walks away silently.

 

**NASHVILLE PD - DAY**

SAM, JOAN, and DEAN, dressed in black suits, follow GLORIA, a seasoned detective, into her office. GLORIA is just old enough to carry a serious amount of gravitas, and is just disgruntled enough to be relatable.

GLORIA

We certainly appreciate the extra manpower. This rash of kidnappings in Centennial Park is pretty unusual, even for this town.

SAM

So, you think the disappearances are connected.

GLORIA

Same M.O. Disappeared in the same place, between 10pm and midnight. All young couples, newlyweds except for the ones last night - they were engaged. And here’s the weird part.

GLORIA produces an evidence box.

GLORIA

We found their clothes.

DEAN

Their clothes?

GLORIA

Everybody who’s disappeared in the last couple weeks. A pile of clothes was left behind, in tatters, like they just ripped them off all a sudden. Cell phones, watches, jewelry – wedding rings too. No blood on anything.

JOAN

Do you have any leads?

GLORIA

We’ve been doing everything we can to keep it out of the news, but... I think the last three couples might be running out of time.

JOAN

Wait... there have been four couples who disappeared.

GLORIA exits the room, motioning for the three others to follow her.

 

**THE MORGUE – DAY**

GLORIA enters the morgue and puts on gloves. She goes to the body storage wall and opens a door.

GLORIA

Unfortunately, we found the first couple. They were dumped by the industrial sector downriver. The ME can’t make heads or tails of this.

GLORIA pulls out one body, then another. SAM and DEAN put on gloves, then JOAN follows suit. SAM hovers over the body, then shares a look with DEAN.

DEAN

Thank you, Gloria. We don’t want to keep you, but could we have a minute?

GLORIA

Take all the time you need. I’ll be around.

JOAN

Thank you.

GLORIA exits. JOAN approaches the body and looks down at it, curious, but a little intimidated. SAM and DEAN seem unfazed. The victims’ hearts are black goo, and the veins around their hearts seem blown out and bruised.

SAM

Hearts are present, but... turned to black goo. (Pokes around) It’s not ectoplasm.

DEAN

They look rotted out. Like... heart pudding, left in the fridge for a month.

JOAN

It’s strange. Both of them, it looks like they just died, except for their hearts – the hearts are much more decomposed than the rest of them.

SAM and DEAN remove their gloves and throw them away. JOAN is still staring at the bodies.

SAM

So. What rots the heart?

DEAN

Cheap strippers? A pack-a-day habit?

SAM rolls his eyes and closes one of the bodies back up. JOAN seems to snap out of her reverie and closes the other.

SAM

Yeah, unlikely. We need to do some digging. Call mom, let’s see if they found anything at the scene the police may have missed.

DEAN nods and pulls out his phone. He dials and brings it to his ear. We hear it ringing several times. DEAN hangs up.

DEAN

She’s not answering.

JOAN pulls out a cell phone and dials.

JOAN

I’ll try Arthur.

DEAN

You have his number?

JOAN looks at Dean like, “obviously,” but says nothing. DEAN clenches his jaw again. She waits a moment, then hangs up.

JOAN

He won’t pick up, either.

SAM and DEAN share a worried look. JOAN picks up on this.

JOAN

Is that very unusual?

DEAN

It’s cause for concern.

SAM pulls out his own phone.

SAM

I’m tracking their location now.

The three exit the morgue.

 

**CENTENNIAL PARK – DAY**

DEAN, SAM, and JOAN, still wearing suits, spread around a large public park, looking for answers. They are within visual of each other. SAM is holding his phone, which he is using to track MARY’s cell phone location.

We see the full-size copy of the Parthenon, a landmark of Centennial Park in Nashville, Tennessee. The three hunters end up in front of the Parthenon. SAM, looking at his phone, approaches the building. DEAN and JOAN follow him.

SAM

We should be right on top of it.

Everyone looks around. No one is there.

DEAN

Mom!?

JOAN walks closer to the steps of the Parthenon. She sees something.

JOAN

Guys.

JOAN walks up a few steps of the building and picks up a torn shirt from the steps. DEAN and SAM approach. From above, we see two messy piles of clothes; MARY’s and KETCH’s. They look like they were hurriedly cast off. SAM picks up a cell phone from MARY’s pile.

SAM

It’s hers.

DEAN

God dammit.

JOAN picks up KETCH’s suit jacket and inspects it. It has several tears. She turns the jacket to see a clean puncture wound over the heart.

JOAN

No blood. They could be unharmed.

She scowls. She looks around and seeing no one besides the brothers, produces her prayer book.

SAM

What are you doing?

JOAN

Testing a quick hunch. Stand by.

DEAN and SAM look at each other uneasily as JOAN removes her suit jacket and begins reading a line from the book. Her tattoos glow faintly. She raises a palm up, then points it to a place in front of her on the steps. She recites the last part of the Enochian chant, now very aggressively. SAM and DEAN feel her change of attitude and draw angel blades.

The cherub GAIL appears. (She appeared in the Season 8 finale.) She at first is afraid, and when she realizes that DEAN, JOAN, and SAM are looking right at her, she groans.

GAIL

Not again!

JOAN wastes no time. She draws her sword and threatens GAIL with it.

JOAN

Where are they?

GAIL

Who?

JOAN extends her palm and makes a fist. GAIL clutches her head in pain.

JOAN

The couples you’ve attacked, cherub. You’ve been shooting people with your arrows here on the steps for weeks, and you just shot our friends. I’ll ask you nicely one more time. Where. Are. They.

DEAN

Joan, Joan, let her go.

JOAN looks at DEAN like he’s crazy. DEAN wordlessly reassures her, and JOAN relaxes her hand. GAIL recovers.

GAIL

What is it with you guys and violence? I swear, sometimes, I wonder why I even bother.

DEAN

Gail? Uh, I don’t know if you remember me.

GAIL

Course I do. Only gave my bow to one human in my life. Took three gosh dang years for it to grow back, too. And what do you use it for? Threw us all out of heaven. Wasn’t super pleased to have to see you again, to be honest.

DEAN

Yeah, things definitely didn’t go as planned. Look, couples have been going missing for weeks. Now my mom disappeared. And you’re here. That’s not a coincidence. But you got the wrong people, because she and Ketch, I mean, that happened, but it’s definitely not a match made in heaven, ok? Kind of gives me the creeps to be honest.

GAIL

Who? No, no, I’m not here for them.

JOAN

Then why are you here?

GAIL stammers, looking back and forth between JOAN and DEAN. SAM catches on and tries to hide a big smile with his hand.

GAIL

I, uh. Well, cherubim are supposed to make sure the right people, uh –

DEAN anticipates the line and interrupts.

DEAN

Do you know where my mom is or not?

SAM

They were here just now. Blonde woman and a British guy.

GAIL

I told you, I have no idea where they are, or anything about the disappearances.

SAM

One couple’s turned up dead. Black, rotted out hearts. Do you know what could do that?

GAIL’s face falls. She obviously knows. Her disappointment turns to annoyance.

GAIL

Good gravy. Constantly. _Constantly_. For millennia now. We’re not the same, guys! Different creatures entirely! I mean, I guess I understand the confusion, but seriously???

DEAN

Whoa, whoa, what creatures?

GAIL

Cupids - which cherubim are NOT – are pagan deities. Greco Roman. Cherubim are angels. Abrahamic. You’d think humans could keep that straight.

SAM

Cupids? That’s what’s taking the newlyweds?

GAIL

That’s what I’d guess. You’ve got the clothes gone, the black hearts – turned to goo, right?

JOAN nods.

GAIL

Yup. You’ve got Erotes. They serve the goddess Aphrodite. Sorry.

SAM

Sorry? I mean, isn’t she the goddess of love? How bad can she be?

GAIL

Look. Aphrodite, she’s not... well. Love is a stretch, let’s just say that.

JOAN

How do we kill her?

GAIL

Kill? Well, gosh, I sure don’t know.

DEAN

Ok. How do we find her?

GAIL hesitates a moment, then smiles at DEAN.

 

**The HOTEL ROOM – EVENING**

GAIL and SAM are sitting at the table, reading something from SAM’s laptop. DEAN emerges from the bathroom, wearing a casual date-night outfit. It’s more dressed-up than we usually see him, but not a suit.

SAM

You look nice.

DEAN

Really?

DEAN is unexpectedly genuine. SAM laughs and nods.

SAM

So, the best guess we can find in the lore for an anti-Aphrodite weapon is a rosewood stake, dipped in the blood of a hare.

DEAN

Oh. Great. Got one of those just lying around.

GAIL

Really?

DEAN

No.

Beat.

JOAN

(O.S.) Gail, this is ridiculous.

GAIL

You need to look like you’re a normal girl on a date!

JOAN

(O.S.) Do normal girls not wear pants?

JOAN emerges wearing a fashionable pink sundress and flats. She looks entirely uncomfortable, pulling down the knee-length skirt as much as she can. Many of her tattoos are visible. Several tattoos are visible on the back of her calves.

JOAN

Because, I don’t think I have a snowball’s chance of looking like a normal girl, no matter what I wear.

DEAN is trying to play it cool, but is clearly impressed by how she looks.

DEAN

Normal is overrated. (Beat) You look awesome.

GAIL smiles widely.

JOAN smiles at DEAN and seems comforted. She puts her smaller knives in a handbag and shoulders it.

JOAN

Well. Let’s do this.

 

**EXT. PARTHENON – NIGHT**

DEAN and JOAN walk side-by-side, approaching the Parthenon. DEAN has his hands in his pockets. JOAN is glancing around nervously, gripping her handbag.

DEAN

It’s a nice night.

JOAN

Yes, good conditions. Clear, plenty of light.

Beat. DEAN tries again.

DEAN

I guess it’s pretty romantic out here.

JOAN

That’s probably why it’s such a good hunting ground for the Erotes.

Another beat. DEAN shakes his head.

DEAN

You’re case-zoning me, aren’t you.

JOAN

What?

DEAN

Nothing, I just... we can make this act more convincing.

DEAN takes JOAN’s hand. She relaxes a bit, and turns away from DEAN so he doesn’t see her grin.

Behind some trees, SAM and GAIL watch. GAIL is gleeful to see them holding hands. SAM loads a gun.

GAIL

You think that gun will help?

SAM

Don’t know. I don’t like that we’re trying this without a viable weapon. But mom and Ketch might not have enough time for us to find rosewood, or hare’s blood, for that matter.

SAM looks at GAIL, who is still staring at JOAN and DEAN.

SAM

With everything going on in heaven, why are you still working cases like theirs?

GAIL

Oh, even before, we didn’t get all our assignments from the garrison. We have a sense for the strings of fate. And this? (Gesturing to JOAN and DEAN) This is some serious destiny.

SAM is about to inquire further when a strange, almost eagle-like sound interrupts. He peeks his head out, looking for the source of the sound.

We hear it again and JOAN pulls her knives out and holds them in a half-concealed reverse grip. DEAN produces an angel blade and does the same.

SAM steps out of the trees a bit. Everyone senses that something is coming. GAIL gets nervous, snaps her fingers and disappears.

SAM turns around to say something to GAIL and is attacked from above. He doesn’t have time to fight back; a flash of feathered wings and he disappears with a flash of light; his clothes and gun fall to the ground in a mess.

DEAN and JOAN see the flash of light. They run to where SAM was. They are pursued by two flying EROTES - feathery-winged men wearing togas - but do not notice.

DEAN

SAM!?

JOAN hears a flap of wings and turns around, knives raised, but the EROTES reach her and DEAN simultaneously. As soon as the EROTES touch them, they also disappear in a flash of light. Their clothes are scattered in a small explosion, not far from SAM’s clothes. We see JOAN’s knives fall to the ground as well.

 

**INT. APHRODITE’S THRONE ROOM - NIGHT**

DEAN’s eyes snap open. He is in a brightly lit room. He blinks several times, breathing deeply and trying to get his bearings. We then see that he is tied to a chair. SAM is tied to a chair to his right – he is awake, and looks at DEAN, worried. SAM is wearing a toga.

DEAN

The hell are you wearing?

SAM raises his eyebrow and looks pointedly at DEAN. DEAN looks down and sees that he is also wearing a toga, at which he balks. JOAN is now waking up on the other side of DEAN, also tied to a chair and wearing a more feminine version of the same toga.

DEAN

You okay?

JOAN only nods, still getting her bearings. They are in a large, gilded, Neo-Classical/Rococo styled throne room with white and gold décor. The three chairs in which the hunters sit are directly facing a velvet sofa on a raised platform. There are roses everywhere.

The three EROTES stand guard silently behind the sofa. They are extremely tall, towering even over SAM. Their wings are folded behind them. Behind the EROTES, there is an intricately carved door.

SAM

Mom!

DEAN and JOAN turn around to see what SAM has noticed: Behind the three hunters there is a golden cage, in which MARY and KETCH are bound, also wearing togas. MARY is barely conscious. KETCH is unconscious. They look pale, like they have lost a lot of blood, and a burn mark is on their togas over their hearts.

In three other cages next to MARY and KETCH, we see three other couples in similar state; wearing togas, in and out of consciousness, with burn marks on their chests. Among them is the couple we saw on TV.

MARY tries to say something to SAM, but can’t seem to find the strength.

SAM, DEAN and JOAN turn back around when the door behind the EROTES opens. APHRODITE enters. She is everything we expect from a sex symbol, very Mediterranean and dressed in flowing, sheer robes that cover just enough to make it onto a TV-14 show.

APHRODITE reclines seductively on the sofa, examining her three new captives. She seems pleased with DEAN and SAM, but giggles mockingly at JOAN.

APHRODITE

You mortals. The more things change, the more they stay the same.

DEAN

What do you want?

APHRODITE

Oh, that’s interesting. You didn’t ask who I was first. That means you already know.

SAM

Aphrodite.

APHRODITE applauds daintily.

APHRODITE

Sam wins the prize! Oh, if only I had a prize.

APHRODITE rises and goes to SAM. She caresses his hair and chest. At first, he draws away from her, but at her touch, he relaxes. He tries to hide his bashful grin. APHRODITE smiles at SAM, then withdraws. When she leaves him, SAM snaps back to being on edge. He looks at DEAN with wide eyes.

DEAN

So, same question. What do you want?

APHRODITE

Same thing I’ve wanted for millennia, Dean Winchester.

APHRODITE leans in, almost kissing DEAN. He recoils, trying not to let her touch him.

APHRODITE

Love. I am the goddess of love – you knew that, didn’t you?

DEAN

(Aggressive) I think I’ve heard that story, yeah.

APHRODITE sits on DEAN’s lap. He tries to resist, but his guard melts.

APHRODITE

They used to worship me, Dean. They really did. Newlyweds, young lovers, they would come and offer me tokens of their affection. But that’s all over now. If these fine gentlemen (motioning to the EROTES) didn’t go hunting for me, I’d surely starve. That’d be a pity, wouldn’t it, Dean?

DEAN swallows, his resolve faltering. He breaks, a goofy grin on his face.

DEAN

Yeah, I’ll say.

APHRODITE

Aw, you’re too sweet.

APHRODITE kisses DEAN deeply. He doesn’t resist at all, and kisses her back.

JOAN

Get away from him!

APHRODITE laughs and rises off of DEAN’s lap. DEAN immediately realizes what happened and is disgusted.

APHRODITE

Oh, you poor, plain thing. What little feminine charm you possess, you haven’t the faintest clue how to use.

APHRODITE leans in and looks like she’ll touch JOAN, but doesn’t, instead resting her hand on the back of the chair.

APHRODITE

I’ll leave you alone. I don’t like to be anybody’s first kiss.

JOAN goes bright red with fury.

JOAN

And I wouldn’t want mine to be with an idolatrous, vain, manipulative... monster!

APHRODITE

Oh, what a comeback. I might faint.

APHRODITE returns to her couch.

APHRODITE

I hope you three turn out better than the last batch. They were a bust.

APHRODITE gestures to KETCH and MARY.

APHRODITE

There were some latent feelings on the man’s part. But the woman? Gods, there wasn’t the faintest hint. Disdain, maybe. And when I pulled what little there was out of the man, she scorned him! I really hate it when people do that. Anteros, she’s yours. Punish her accordingly.

One of the EROTES steps toward the cage where KETCH and MARY lay bound. SAM and DEAN try to escape their restraints.

DEAN

Leave her alone!

SAM

I swear, if you –

APHRODITE

Ooooh! How interesting. Anteros, stay your hand for a moment, I might be on to something here. But first, let’s see what we’re dealing with. Eros, would you be a dear?

The largest EROTE steps behind DEAN and SAM and turns their chairs so they face each other.

APHRODITE

Pothos, may I have the vine?

The third EROTE produces a grapevine and a wine chalice from his toga. The vine is gnarled and has the appearance of a magic wand of sorts. He kneels and presents it to APHRODITE, who happily plucks it from his hands.

APHRODITE

Excellent! Now you two, look directly in each other’s eyes.

DEAN and SAM can’t help but comply; they look at each other terrified. APHRODITE uses the vine to “scoop” the air between them and direct it into the chalice that POTHOS holds out for her. A stream of dark red wine streams from SAM and DEAN’s chests, combining into one that streams into the glass. As the glass fills up, the brothers react in pain and sudden loss of strength.

APHRODITE sips from the glass, and is greatly pleased by the result.

APHRODITE

Oh! Delicious, long-abiding, familial devotion. So complex. Shared traumas galore. Aged to perfection. Can’t wait to drain that. Everyone needs a few cases of good Storge in their cellar. All right, Eros, let’s try the one with the hair and the girl.

EROS pulls DEAN’s chair backwards and arranges SAM to face JOAN. APHRODITE repeats the movement with the vine and POTHOS collects what looks like a light-colored rosé.

SAM looks worse for wear after the second collection, and looks kind of dizzy now. JOAN looks nauseous.

APHRODITE tastes the wine and is unimpressed, but not disappointed.

APHRODITE

Hm. Philia. Sweet, mild, budding friendship. Perhaps I’ll put it in my tea. Next.

EROS pulls SAM back and faces DEAN to JOAN. They look at each other worriedly. DEAN shakes his head and JOAN nods her understanding. They both shut their eyes.

APHRODITE laughs.

APHRODITE

Oh, that’s adorable. Eros, Anteros, deal with this, please.

EROS and ANTEROS step behind DEAN and JOAN, yank their heads back against the chairs, and place their hands at their necks. At the feeling of the hands threatening to choke them, DEAN and JOAN open their eyes and struggle against the restraints. EROS and ANTEROS push them closer together, so their knees are almost touching. They look at each other now.

APHRODITE

Much better. Let’s see here.

EROS and ANTEROS keep their hands on DEAN and JOAN’s throats as APHRODITE extracts the wine from their hearts into POTHOS’ cup. It’s a white wine; a deep yellow color.

After the extraction, EROS and ANTEROS release DEAN and JOAN, who breathe deeply. They seem exhausted.

APHRODITE tastes the wine and squeals with joy.

APHRODITE

See, now THIS is what I’ve been looking for! All those newlyweds we’ve blown through, and two _hunters_ have the goods! A foundation of deepening friendship, but young and tangy with uncertainty and a _noticeable_ bud of Eros. Honestly, I can’t even tell you that it’s compatibility, I think it might just be the... the desperation. Fate just pushing you together like a slow-motion, head-on collision. I almost don’t want to drain this yet. Let you marinate for a few years and see what I get. Hmm. Pair it with seafood like an oaked chardonnay. Anteros, we’re enough here without our previous charges; clear the cage, please.

ANTEROS draws an ancient-looking sword and walks toward MARY and KETCH. SAM, DEAN, and JOAN are too weak to resist.

Behind APHRODITE, the door slams open, but the sofa hides the person who entered.

HARMONIA

(O.S.) MOTHER!

APHRODITE rolls her eyes, but then hides her annoyance behind a smile as she turns to greet the woman.

HARMONIA comes from behind the couch and stands in front of her mother, arms akimbo. She is younger than Aphrodite, and dressed more modestly.

APHRODITE

Harmonia. To what do I owe this pleasure?

HARMONIA notices ANTEROS about to open the cage where MARY and KETCH are bound, sword drawn. She is appalled.

HARMONIA

Anteros, what are you doing? Mother, stop this!

APHRODITE hurriedly waves to ANTEROS to get him to stop what he’s doing. He sheathes his sword.

APHRODITE

Now, my dear, is there something you wanted?

HARMONIA

Mother, you have to stop this. There’s no need to torture these lovers. You can get by without this.

APHRODITE

Sweet, sweet Harmonia. So gentle. Let mummy work, darling. You don’t want to argue, do you?

HARMONIA stammers. APHRODITE walks toward the door, leaving her behind.

APHRODITE

I need some bottles. Big ones. Pothos!

POTHOS follows APHRODITE. EROS and ANTEROS remain, checking on everyone in the cages.

HARMONIA seems to be in distress, looking at the three hunters. She looks at EROS and ANTEROS, then approaches SAM.

HARMONIA

I can’t believe I’m doing this. I hate that I’m doing this. You’re a hunter, aren’t you?

SAM

Yes. We all are. Can you help us?

HARMONIA

I think I have to. My husband was a hunter too, long ago, even before the days of Heracles. He believed that all monsters had to be taken from the world in order for peace to prevail. I see now that my mother has become a monster.

Looking back to make sure EROS and ANTEROS aren’t watching, HARMONIA cuts SAM’s restraints subtly. She does the same with DEAN and JOAN. They remain seated and look like they’re still tied up.

HARMONIA produces a gnarled wooden stake, stained with blood. She looks at it for a while, hesitating. She then hands it to SAM, who tucks it behind him. She gives two more to DEAN and JOAN.

HARMONIA

I abhor violence. But do what you must, Hunters.

SAM

Thank you.

HARMONIA looks up, tears forming in her eyes. She only nods, and with a wave of her hand, disappears.

A moment after she disappears, APHRODITE walks back in. POTHOS follows her, carrying several very large glass bottles.

JOAN is about to loose her restraints, but DEAN subtly motions to JOAN to wait. POTHOS and APHRODITE approach DEAN and JOAN. JOAN tightly shuts her eyes again, and DEAN follows suit.

APHRODITE groans.

APHRODITE

Again? Really? Eros, Anteros!

The two EROTES come back and stand behind them.

APHRODITE

You needn’t be so gentle this time.

ANTEROS, standing behind DEAN, has his back to SAM. SAM jumps out of his chair and stabs ANTEROS in the back with the wooden stake. He roars and falls to the ground.

EROS, standing behind JOAN, moves to attack SAM. JOAN kicks off of DEAN’s chair, pushing back and then jumping to attack EROS. EROS turns to defend himself, and they continue to fight.

DEAN easily kills POTHOS, who is holding the bottles. They crash to the ground and shatter.

APHRODITE backs toward the door, away from DEAN, but falls back on the sofa. As DEAN approaches, she grabs his arm and he drops the stake, instead sitting next to her on the sofa and reaching toward her seductively. She tries to get away, but as soon as she lets go of DEAN, he tries to grab the stake from the ground, so she must keep a hand on him. She looks at the others fighting, then begins to pull DEAN with her, out of the room.

SAM comes to JOAN’s aid. They kill EROS, and then pursue APHRODITE, who is holding DEAN in thrall. APHRODITE slams the door behind her and we hear it lock.

SAM runs to the door and tries to kick it, but is unsuccessful.

JOAN pulls a key from ANTEROS’s body and unlocks the cage where MARY and KETCH are, then unties their hands. They are both conscious now, but kind of dizzy. JOAN goes to unlock the other cages.

SAM goes to MARY.

SAM

Mom. Are you okay?

MARY

Yeah. She didn’t take much out of us. The others are going to be in much worse shape.

KETCH

She’ll have taken DEAN somewhere safe to leave him. There’s another room where she took us, I can show you.

JOAN now has freed the other couples, who are barely able to walk.

JOAN

Everyone stay behind us.

The group moves toward the door. KETCH picks up the stake that DEAN dropped. KETCH and SAM together kick the door in.

 

**INT. APHRODITE’S PALACE - NIGHT**

The group makes their way down the corridor, which is styled similarly to the throne room. To the left, MARY sees a sort of portal, through which we can see the Parthenon in Nashville.

MARY

I think that’s the way out! Everyone, go!

The couples approach the portal warily. One of the men gestures his wife to wait and pokes his head out of the portal.

CENTENNIAL PARK – NIGHT

We see the man’s head appear, floating in midair through an invisible portal. He looks around, then retracts his head.

APHRODITE’S PALACE – NIGHT

MAN

Come on, let’s stay together.

The man grabs his wife’s hand and they walk through together. The second couple follows. The last couple, whom we saw on the TV, turn around to speak to TEAM FREE WILL.

WOMAN

Thank you.

They walk through the portal as well.

KETCH leads the team down a stairwell. He, SAM and JOAN are armed with the wooden stakes. MARY follows.

At the bottom of the staircase, they find a heavy wooden door. KETCH nods. SAM tries the handle and finds it unlocked.

 

**INT. APHRODITE’S WINE CELLAR - NIGHT**

The door opens, revealing SAM, JOAN, KETCH, and MARY. APHRODITE stands behind a torture table, to which DEAN is restrained. APHRODITE’S hand is on DEAN’s arm. The shelves of the wine cellar are lined with large glass bottles of wine, organized by different colors and marked Philia, Storge, and Eros. We see an empty shelf marked Agape.

As the team approaches, APHRODITE draws a sword and holds it to DEAN’s throat. The team stops.

DEAN

Ooh, kinky. Uh, a little privacy, guys?

APHRODITE rolls her eyes and removes her hand from DEAN’s arm. DEAN immediately snaps out of it, disgusted.

DEAN

Son of a bitch!

APHRODITE

All right. You win. All my Erotes are dead, my daughter despises me, and I am left with a single thrall. You win. Millennia of my work, gone in an instant. Can’t you go now?

MARY

Not without my son.

APHRODITE draws the tip of the sword across DEAN’s chest, staining the toga with blood.

APHRODITE

Go without him or watch him die.

SAM and JOAN charge, but hit an invisible wall before they reach DEAN. APHRODITE positions the sword to stab DEAN through the heart.

HARMONIA

Mother!

HARMONIA enters the room from the same door and the team separates to allow her to pass. She walks directly through the invisible wall and stands in front of her mother.

APHRODITE

You gave them the tools to kill me. Don’t deny it.

HARMONIA

I won’t deny it. You have become a monster. And they are hunters. You know whose side I must choose.

APHRODITE

I’m your mother!

HARMONIA

That’s why I’m here. Come back with me, mother. Come back to Olympus and leave all this behind you.

APHRODITE seems shocked by the invitation.

APHRODITE

Back... back to Olympus? Really?

HARMONIA only nods and extends a hand. APHRODITE comes to her daughter and tearfully embraces her. They disappear.

MARY and SAM release DEAN, who sits up. He sighs, looking at the ceiling. SAM claps him on the back.

SAM

Not your fault.

DEAN

Doesn’t make it less humiliating.

 

**THE BUNKER - NIGHT**

CASTIEL knocks on JACK’s bedroom door.

CASTIEL

Jack?

CASTIEL knocks again, then gives up and leans his head against the doorframe.

CASTIEL

I know you don’t want to talk to me. But listen. I’m sorry if I was too harsh before. When I came to this world, I was... naïve. I had commanded garrisons, I was centuries old, I was a seraph, an angel of the Lord – but I knew nothing of humans. And when I lost my grace, I was – I had to _become_ a human. A grown man. And it has taken several years to understand what that really means. Losing my power was probably the only way I could have learned that. I think that loss must be a crucial part of the maturation process. Suffering breeds growth.

I am sorry if I hurt you, Jack. I have only wanted to spare you some of the humiliation I went through. Maybe I shouldn’t try to spare you anything. But I can’t, I physically cannot, just sit and watch someone take advantage of you. And that’s because I love you. Even though I know I’m not your father. Jack? Jack?

CASTIEL hesitates, then opens the door. JACK is gone. There is a note on his bed. CASTIEL picks it up and reads it: “Don’t follow me.”

CASTIEL

Son of a...

CASTIEL crumples the note, pulls out his cell phone and dials. He turns away and exits hurriedly, leaving the door open, as he speaks into the phone.

CASTIEL

Dean? We have a situation.

 

FADE OUT:

THE END

**Author's Note:**

> A huge thank-you to everyone who has read this far through all five episodes. I am now open to concrit / beta readers. I have 10 episodes already plot-outlined, which I hope to get a good chunk of written out before NanoWrimo ends. :) Please reach out if you have some input!


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